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Accompanied by Hiram Bullock (guitar), Cliff Carter (keyboards), Wilber Bascomb (bass), Jeremy Steig (flute) and others, Idris Muhammad ventures into the world of pop and R&B, annoying die-hard jazz fans. Limp and uninspired vocals hurt "Could Heaven Ever Be Like This"; the track is good and could have stood alone with instrument(s) replacing the vocal parts. If you like African rhythms underneath a haunting flute, then you'll love "Camby Bolongo" -- Sue Evans supplies percussions and Randy Brecker provides a searing trumpet solo. While blatantly commercial, "Turn this Mutha Out" offers some dynamic interplay between Bascomb's funky bass vamp, and Bullock's compelling guitar work. The tune landed on the R&B chart in the States and got considerable airplay in Britain. "Tasty Cakes" uses the same lineup including complimentary musicians as "Mutha" on a shameless attempt to sell records. "Crab Apple," aided by Michael Brecker's tenor sax, jams; the midtempo strut is nasty, particularly when Carter works his synthesizer. "Moon Hymn" is a duo tempo head tune that swipes a bit of War's "Slipping into Darkness." Eric Gale is the guitarist on "Say What," a fusion of jazz and funk. Muhammad never solos, he didn't write any of the songs, he didn't arrange any, and he didn't produce any. So why is he the leader and the album in his name?~ Andrew Hamilton, All Music Guide

Bob Graettinger was arguably the most radical arranger to ever work in jazz. In fact, it is doubtful if any other big-band leader other than Stan Kenton (who always encouraged adventurous writers) would have used his very complex charts during this era. Graettinger's works, which were influenced by aspects of modern classical music (but were not at all derivative) are all included on this fascinating, if difficult, CD reissue. The four-part "City of Glass," the pieces that comprised This Modern World, and a variety of shorter works (including the remarkably dense "Thermopylae") make for some very stimulating listening. This is avant-garde music that still sounds futuristic in the 21st century.

This is what happens when you allow an imaginative musical mind to wander alone at will in a room full of the latest technical gadgetry. Although other artists leant their talents to this album, in truth it represents very much a one-man affair, the result of inventive application of music technology and a merry approach to some tunes of his own as well as others. The sense of fun which Dave Grusin brings to most of his upbeat work is here in abundance, enlisting everything from high-tech electronics to literally (not figuratively!) pots and pans to create an album full of wizardry and surprises. There can be no question that he is in the musical environment he likes best when working in studio with fellow performers of rarefied talent. So, that makes it all the more fascinating that Dave Grusin regards the ”Night-Lines” project - such a wide departure from these collaboration-oriented sessions - to be one of the most enjoyable he's worked on...

Jaco Pastorius was a phenomenon. An innovative instrumentalist and composer, his work as a solo artist and as a member of Weather Report redefined the language of the electric bass and created a rich legacy of unforgettable compositions. The remarkable music contained in this volume gives us Jaco in a context vastly different from any for which he is widely known. These live performances in an intimate New York club setting bring Jaco together with Hiram Bullock, Kenwood Dennard and others in an intense and exciting musical dialogue. As always, Jaco's roots are ever present; Reggae, Jazz, R & B and Rock combine to create what Jaco himself aptly termed "Punk Jazz". ~ Brian Linse

This CD reissues one of the first percussion-oriented jazz records, although it was preceded two weeks earlier by Art Blakey's obscure Columbia set Drum Suite. Blakey enlisted quite a lineup -- the leader, Art Taylor, Jo Jones, and Specs Wright on drums (with the latter two doubling on timpani); five percussionists; flutist Herbie Mann; pianist Ray Bryant; and bassist Wendell Marshall. Mann plays a variety of African wood flutes. With percussionist Sabu leading the chanting and taking three vocals (Blakey himself sings a little on "Toffi"), the music is quite African-oriented and generally holds one's interest, preceding Max Roach's M'Boom by over 20 years. Mostly for specialized tastes, this is a set that drummers should consider essential. ~ Scott Yanow, AMG

This rare Japan vinyl only (Zenon Vol 86091) issue, features Stve Lacy solo performing live on May 24, 1986 at the Higasi Kumin Bunka Center, Japan. As usual he performs two compositions of the great Thelonious Shere Monk and some of his own.

The master tape of the complete Hiroshima concert of May 24 still exists. Though the original producer has no intention of issuing the second part of the concert, we understand he intends to propose the tape to a reliable music company: so Volume one (issued as The Kiss on Lunatic, with its great cover Zenon Vol 86091 by Imamura Yukio, a kind of "Circle in the Square" principle) could possibly be reissued as part of a complete package (2 CDs set). ~ All about jazz

What a treat! An incredible compilation for those Davis fans who love his cooler bluesy/modal material. The brilliant producer Michael Cuscuna has combed through the early Davis "Birth of the Cool" sessions (1950), several Blue Note sessions in 1952 and 1954, plus one cut from the classic Adderley/Davis album Somethin' Else to create a cool blues compilation of Davis' stuff stripped of all the bop up-tempo elements. The result is a precursor to Kind of Blue, an album that shows all of the bluesy cool Miles Davis that many of us are so very fond of. Don't miss it. ~ Michael Erlewine, AMG

This is one of the rarest record dates led by Ray Nance, recorded in 1971 for MPS with pianist Kenny Drew, bassist Ron Mathewson, and drummer Daniel Humair. Nance pulls all the stops in showcasing his talents, opening with an obscure Ellington composition, "He Huffed 'n' Puffed" (played during just two 1965 concerts before it was dropped), with the leader delivering its jive vocal with his trademark humor in his hoarse voice. His swinging violin is heard on "Some of These Days" and his exotic original "Wild Child," written shortly before the session began, which finds him moving away from swing and closer to the post-bop sounds of John Coltrane. His muted horn and campy vocal on "Tangerine" and open horn on "Struttin' With Some Barbecue" are also highlights of what evidently was his final recording as a leader prior to his death in 1976. This long out of print LP is worth an extensive search.~ Ken Dryden, All Music Guide

Êðàòêàÿ áèîãðàôèÿ çíàìåíèòîé âîêàëèñòêè.Brief biography of the famous cantatrice.

One of television's premiere African-American series stars, elegant actress, singer and recording artist Diahann Carroll was born Carol Diann (or Diahann) Johnson on July 17, 1935, in the Bronx, New York. The first child of John Johnson, a subway conductor, and Mabel Faulk Johnson, music was an important part of her life as a child, singing at age 6 with her Harlem church choir. While taking voice and piano lessons, she contemplated an operatic career after becoming the 10-year-old recipient of a Metropolitan Opera scholarship for studies at New York's High School of Music and Art. As a teenager she sought modeling work but it was her voice, in addition to her beauty, that provided the magic and the allure.

Artist: Jane Monheit Album: In The Sun Label: Silverline Year: 2002 Format: Flac Time: 00:52:46 Size: 333mb Jane Monheit's third album attempts to combine a number of elements: jazz standards, Brazilian repertoire, ballads lushly orchestrated by Alan Broadbent and Vince Mendoza, and even pop vehicles originally sung by Linda Ronstadt and Judy Collins. The young vocalist is usually at her best fronting a small combo; here one wishes she had relied more on her working band with pianist Michael Kanan, bassist Joe Martin, tenor saxophonist Joel Frahm, and drummer/husband Rick Montalbano. It is they who provide this record's most rewarding moments: Martin reharmonizes Ellington's "Just Squeeze Me"; Kanan presents a funky take on "Cheek to Cheek" and duets with Monheit on an unusually slow "Tea for Two." On these tracks one can hear Monheit taking vocal risks, testing her mettle with bluesy inflections and bold peaks in volume. Much of the rest of the album is closer to Streisand than Sarah Vaughan, however. The final four tracks bog down in slow tempos and a vanilla-syrup aesthetic; her Portuguese-language rendition of Ivan Lins' "Comecar de Novo" seems especially contrived. But her duet with guitarist Rene Toledo on "Chega de Saudade" is more convincing, and Lins' guest appearance on his own "Once I Walked in the Sun" provides some lilting harmonic tensions. ~ David R. Adler, All Music Guide

Kenny Burrell trio plays three tracks, Attila Zoller plays three, another three by Jim Hall, and the last track is a jam session of three talented guitarists (like they would perform at the ”Guitar Festival” concert). Improvisation phrases and guitar tones of these three players sounds so distinctive each other, which make this album very interesting. Surprisingly, this album was released in 1970 (or 1971) by Overseas label of Teichiku Records Japan, then no LP/CD reissue was made as far as I know. I believe that many fans would gladly welcome if this scarce album was reissued... Burrell strokes full of tensional phrases, while Zoller spreads solid and progressive improvisations and Hall presents his warm, soft and beautiful guitar - actually it's a very nice album.

Following a series of coruscating servings of progressive uber funk for Verve, Scofield stripped down to a trio for this live session at New York's Blue Note club in December 2003. He hooked up with a pair of old friends, the terrific loose-limbed drummer Bill Stewart, and the tense, nimble bassist Steve Swallow, and the three go after each other in some often-furiously busy, driving, tangled interplay, defying the frigid New York weather of that period. Denzil Best's "Wee" gets a scorching, asymmetrical workout to start, and Swallow's "Name That Tune" promptly goes into super overdrive, with Scofield darting all over the place in his idiosyncratic way. "Hammock Soliloquy" varies between another of Scofield's irresistible, laid-back, country tunes and more combustible high-speed interplay, while "Bag" ain't nothin' but the blues with a volatile groove. A highly-convoluted trip through "It Is Written" precedes and partially pre-echoes a quiet ballad-tempo rendition of the Bacharach/David tune "Alfie." The closest thing to the jazz/funk jams of Scofield's recent past is an 11-minute closing workout called "Over Big Top" a paraphrase of "Bigtop" from his Groove Elation album churning and driving relentlessly. Leaning more toward Scofield's jazz side per se, this high-energy outing should pass the time quite agreeably until he unleashes another of his jazz/funk groove-a-thons.~ Richard S. Ginell, AMG

An all-star batch of jazz musicians, fresh off the road from a world tour, were filmed live before an audience at the record Plant Studios in Los Angeles. Includes performances from Dave Grusin, Lee Ritenour, Dave Valentin, Diane Schuur, Ivan Lins, Larry Williams, Carlos Vega and Abraham Laboriel.Cdandlp.com

This set includes the magnificent 1942 trio session with Nat Cole, the Helen Humes session (with a newly discovered instrumental), and all seven small-group sessions led by Young between 1945 and `47. These sessions, which spawned such classics as "D.B. Blues" and "Jumpin' With Symphony Sid", include Vic Dickenson, Willie Smith, Joe Albany and Roy Haynes among the sidemen.Truebluemusic.com

Artist: Charles Mingus Sextet with Eric Dolphy Album: Cornell 1964 (2cd, live) Label: Blue Note Year: 1964 Release: 2007 Format, bitrate: Mp3, 224 kb/s vbr Time: 2:14:17 Size: 191 Mb In 2005, Blue Note raised the eyebrows (and expectations) of the jazz world by issuing the previously unreleased Thelonious Monk/John Coltrane Carnegie Hall concert from November of 1957 that literally replaces the few other recordings of the group both sonically and musically. In 2007, courtesy of Charles Mingus' widow Sue, with the help of Michael Cuscuna and Blue Note, gives us another heretofore unknown bit of jazz history with the Charles Mingus Sextet with Eric Dolphy's Cornell University Concert from March 18, 1964. The reason this gig is significant is because apparently, not only didn't anybody know it was recorded, according to Gary Giddins, who wrote the (typically) excellent liners here, no one but the people who put on the show and the students who attended even knew it had taken place! The other reason for its historic importance is that it took place 17 days before the famed Town Hall concert and predated other European shows by the band by at least a month. This is significant because trumpeter Johnny Coles took ill shortly after, and Dolphy passed away a few months later. Until now, the Town Hall gig was the standard for this band, but it is safe to say with this current revelation that it will be replaced in the annals of the canon. This band — Mingus, Dolphy, Coles, Jaki Byard, Dannie Richmond, and Clifford Jordan — played perhaps definitive renditions of some Mingus tunes worked out previously at the Five Spot where he assembled the group, and were presumed to have first been performed, and recorded, at Town Hall. Much of the material was also performed on the European tour that followed and climaxed with an appearance at the Monterey Jazz Festival...

Some of soprano saxophonist Steve Lacy's most interesting recordings are his earliest ones. After spending periods of time playing with Dixieland groups and then with Cecil Taylor (which was quite a jump), Lacy made several recordings that displayed his love of Thelonious Monk's music plus his varied experiences. On this particular set, Lacy's soprano contrasts well with Charles Davis' baritone (they are backed by bassist John Ore and drummer Roy Haynes) on three of the most difficult Monk tunes ("Introspection," "Played Twice," and "Criss Cross") plus two Cecil Taylor compositions and Charlie Parker's "Donna Lee." ~ Scott Yanow, All Music Guide

After Tierney Sutton paid tribute to Bill Evans with Blue in Green, she salutes another of her influences with Dancing in the Dark, "inspired by the music of Frank Sinatra." The results are mellower than what Sutton fans might expect--it's less the hipster Sinatra than the one of such concept albums as In the Wee Small Hours of the Morning and Only the Lonely--and the tempos never rise above an easy swing. But it's a beautiful listen, and although there's an orchestra, it's not really a "with strings" album, which have been uneven throughout jazz history. Fewer than half the selections have strings, and those strings have been very subtly arranged (and conducted) by pianist Christian Jacobs. It's Sutton's usual trio--Jacobs, bassist Trey Henry, and drummer Ray Brinker--that is the primary accompaniment, and in Alec Wilder's "I'll Be Around" Jacobs shares a dazzlingly beautiful line with Sutton's wordless vocalise. And because "Fly Me to the Moon" has always been taken in either 3 or 4, Sutton acknowledges both by singing it in 7. Those are merely two memorable moments in an album that's full of them. --David Horiuchi